Hans Holbein the younger

Jeanette Zwingenberger

Description

Hans Holbein the Younger (1497-1543) is one of the greatest portrait painters of the 16th century. A keen observer of his era, Holbein became the court painter of Henry VIII and his sundry wives. His talent was established at the early age of 18 when he illustrated Erasmus’manuscript The Praise of Folly. Holbein’s wide range of pursuits included not only painting, drawing, book illustration and designing stained-glass windows, jewellery and luxury objects, but also fanciful trompe l’œil murals and architecture. The breadth of his activities allows one to describe him as a genuine European artist. But his speciality was anamorphosis, teasing the viewer’s vision with a sense of humour.

Sujets

• Renaissance
• German
• Stuttering therapy
• Painter
• Plan (drawing)
• Anamorphosis
• Utopia (disambiguation)
• Utopia
• Portrait
• Henri VIII d'Angleterre

Informations

• Publié par: Parkstone International
• Date de parution: 04 juillet 2023
• Nombre de lectures: 0
• EAN13: 9781646999750
• Langue: English
• Poids de l'ouvrage: 15 Mo

Extrait

© 2021 Confidential Concepts, worldwide, USA
© 2021 Parkstone Press International, New York, USA
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No part of this publication may be reproduced or adapted without the permission of the copyright holder, throughout the world. Unless otherwise specified, copyright on the works reproduced lies with the respective photographers, artists, heirs or estates. Despite intensive research, it has not always been possible to establish copyright ownership. Where this is the case, we would appreciate notification.
ISBN: 978-1-64699-975-0
THE SHADOW OF DEATH

IN THE WORK OF


HANS HOLBEIN
THE YOUNGER


JEANETTE
ZWINGENBERGER
Contents
INTRODUCTION
Holbein’s Life
THE EVOLUTION OF THE AMBASSADORS
Two protagonists
Three different points of view
From two-dimensional canvas to three-dimensional effect
POSSIBLE ARTISTIC SOURCES
The portrait of Sir Thomas More’s family
The portrait of Henry VIII
JUXTAPOSITION OF IMAGE AND TEXT
The studiolo picture
Holbein’s self-portraits
A STILL LIFE OF SCIENTIFIC INSTRUMENTS
The artist as a disseminator of knowledge
THE ANAMORPHOSIS OF THE SKULL
The death’s-head as an object of meditation
The knowing mirror of Prudentia
Vanitas: an ambiguous element of the picture
The skull anamorphosis: a stumbling block
THE SIGNIFICANT SHADOW
SECULAR AND SPIRITUAL TIME IN THE AMBASSADORS
The “Ambassadors” and Their Attributes
The Shadow of the Future
SIR THOMAS MORE’S UTOPIA
THE DANCE OF DEATH
Christ in the Tomb
Adam and Eve
THE INTELLECTUALISM OF HOLBEIN, THE ARTIST
Historical temporality and the presentness of the creative act
The signature of death
DRAWINGS
BIBLIOGRAPHY
INDEX
NOTES
Hans Holbein the Younger, Portrait of Mary Wotton, Lady Guildford , 1527. Oil on wood, 80 x 65 cm. Art Museum, Saint Louis, Missouri


Hans Holbein the Younger, Portrait of Mary Wotton, Lady Guildford , 1527. Black and coloured chalks, 55.2 x 38.5 cm. Public collection, Department of Engravings, Art Museum, Basel


Hans Holbein the Younger, Design for Stained Glass with Two Unicorns , c. 1522/23. Pen and wash aquarelled, 41.9 x 31.5 cm. Public collection, Department of Engravings, Art Museum, Basel
INTRODUCTION
Hans Holbein the Younger is one of the greatest portrait painters of the 16th century. A keen observer of his era, Holbein painted not only his contemporaries in Basle and various German merchants, but also the most distinguished humanists of his day: Sir Thomas More, Erasmus, the astronomer Nicolas Kratzer, Archbishop William Warham, as well as the international nobility; subsequently he became the court painter of Henry VIII and his sundry wives. The breadth of his activities allows one to describe him as a genuine European artist.
What is striking about Holbein’s true-to-life pictures is their miniature-like precision and the concomitant monumentality of their proportions. Holbein’s wide range of pursuits included not only painting, drawing, book illustration and designing stained-glass windows, jewellery and luxury objets, but also painting fanciful trompe l’oeil murals and architecture.
But Holbein undermines the apparently objective representation of reality in his pictures with minute details, while intermingling various temporal dimensions and availing himself of diverse media, including images and text. As a result, an ambiguity of form and content characterizes his works, which might be termed “pictorial documents” of prevailing 16th-century ideas and of the innumerable notables he portrays.
Our methodological point of departure will be Holbein’s picture of The Ambassadors , which will serve as a key to the artist’s world. The anamorphosis in this picture will be taken as the crux of an interpretation involving the deliberate play on the coding and decoding of the image. The two different ways of looking at the anamorphosis, i.e. in distorted or corrected form, are not just perceptual phenomena, but integral parts of a new conception of visual art. This conception is marked by dissociation from the level of mere illustration and by profound reflection on the artist’s subjects. The world of the picture becomes a play on words and forms which, once decoded and articulated, yields a moral message, which, however, cannot be taken as the only significance of the work.


Hans Holbein the Younger, Bat. Black and coloured chalks, 16.8 x 28.1 cm. Art Museum, Basel


Hans Holbein the Younger, Portrait of Jean de France, Duke of Berry. Black and colored chalks, 39.6 x 27.5 cm. Public collection, Department of Engravings, Art Museum, Basel


Hans Holbein the Younger, Portrait of Jeanne de Bologne, Duchess of Berry. Black and colored chalks, 39.6 x 27.5 cm. Public collection, Department of Engravings, Art Museum, Basel


Hans Holbein the Younger, Portrait of Derich Born , 1533. Wood, 60.3 x 45.1 cm. Royal collection, Windsor Castle


Hans Holbein the Younger, Portrait of the Artist’s Wife and Two Sons , 1528. 77 x 64 cm. Public collection, Art Museum, Basel
Holbein’s Life
Hans Holbein the Younger was born in Augsburg in 1497/98. Hans and his older brother Ambrosius ( c . 1493/94– c . 1519) first studied with their father, the renowned Southern German painter Hans Holbein the Elder (c. 1465–1524). In 1515 the Holbein brothers were both working in the studio of Hans Herbst in Basle, Switzerland. That was the year in which the two of them executed the marginal drawings for a manuscript by Erasmus entitled The Praise of Folie . In 1517/18 they collaborated with their father in Lucerne on a large-scale mural for the mayor Jacob von Hertenstein. The title of master painter was conferred on Holbein in 1519, at which point he joined the zum Himmel (to the sky) painters’ guild. That same year he married the widowed Elisabeth Binzenstock, who was to bear him two sons.
Holbein became a citizen of Basle in 1520 and painted the mural decorations of the new council chamber as well as the facades of the house Zum Tanz in Basle during the 1520s. It was also at that time that he first made contact with local publishers: Johannes Froben, Adam Petri, Thomas Wolff, Andreas Cratander, Valentinus Curio and Johann Bebel. From 1523 to 1526 Holbein fashioned a famous cycle of woodcuts known as the Dance of Death , which, however, were first printed, by Melchior and Gaspar Trechsel in Lyon in 1538, under the title Les Simulachres et Historiées faces de la mort, autant élégamment portraites, que artificiellement imaginées . Also published in Lyon that year were his so-called Icones, 92 woodcuts Holbein had designed between 1524 and 1526, while still in Basle, based on subjects drawn from the Old Testament.
In 1524 Holbein, who had probably already visited Italy, made his first trip to France (Bourges)—as evidenced by his drawings of the praings statues of Jean de Berry and Jeanne de Boulogne in Bourges. Two years later he journeyed via Antwerp to England, where he resided at the home of Sir Thomas More. On his return to Basle in 1528, Holbein was faced with a devastating situation: the iconoclasts had begun destroying pictures. Yet in 1529 he received another commission: to finish painting the Great Council Chamber of the town hall. In 1532 Holbein went back to London, where in 1536 he became the official court painter of Henry VIII, who was to send him on a number of journeys to the Continent in the years to come. In 1543, at the height of his career, Holbein died of the plague in London.


Hans Holbein the Younger, The Greek Philosophers Aristotle, Plato, Socrates and Pythagoras Beside King Solomon , 1523. Metal cut, Public collection, Department of Engravings, Art Museum, Basel


Erasmus of Rotterdam, The Praise of Folie , 1515. J. Froben, fol. Q3v, Marginal drawing, pen. Public collection, Department of Engravings, Art Museum, Basel


Hans Holbein the Younger, Portrait of the Artist’s Wife and Two Sons , 1528. 77 x 64 cm. Public collection, Art Museum, Basel


Hans Holbein the Younger, Magdalena Offenburg as Venus , 1526. Oil on wood, 34.5 x 26 cm. Public collection, Art Museum, Basel


Copy of Hans Holbein the Younger , Model of the house Zum Tanz (dance hall), Reconstruction. Public collection, Department of Engravings, Art Museum, Basel


Hans Holbein the Younger, Portrait of Bonifacius Amerbach , 1519. Wood, 28.5 x 27.5 cm. Public collection, Department of Engravings, Art Museum, Basel


Hans Holbein the Younger, Solothurn Madonna , 1522. Oid on wood, 140.5 x 102 cm. Art Museum, Solothurn


Hans Holbein the Younger, Portrait of Anne of Cleves , 1539. Wood, 65 x 48 cm. Louvre, Paris


Hans Holbein the Younger, Portrait of Henry VIII , 1536–1537. Oak, 28 x 20 cm. Thyssen-Bornemisza Collection, Madrid


Hans Holbein the Younger, Portrait of Henry VIII (Detail)


Hans Holbein the Younger, Portrait of Jane Seymour , 1536–1537. Oak, 26.3 x 18.7 cm. Museum of Historie Art, Painting Gallery, Vienna


Hans Holbein the Younger, Portrait of Christina of Denmark, Duchess of Milan , 1538. Oil on wood, 179 x 82.5 cm. National Gallery, London


Hans Holbein the Younger. Portrait of Edward, Prince of Wales , 1539. Oak, 57 x 44 cm. National Gallery of Art, Washington, D.C.


Hans Holbein the Younger, Portrait of Edward, Prince of Wales , 1543. Diam. 32.4 cm. Metropolian Museum of Art, New York
THE EVOLUTION OF THE AMBASSADORS
Jean de Dinteville (1504–55), who commissioned the work, went to London in February 1533 as France’s ambassador and stayed for nine months. In a letter dated May 23 to his brother François de Dinteville, the Bishop of Auxerre, Jean talks about an unofficial visit paid by his friend Georges de Selve (1509–42), the Bishop of Lavaur: “Monsignor de Lavaur did me the honour of paying me a visit, which delighted me. But it is not absolutely necessary for the Grand Master [Montmorency] to find out about that.” [1]
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